A large number of critics who have tried to penetrate the complexity of Sean O'Casey's theatrical works have been fighting against a matter which seems to reject every easy outline and label. They seem to be shaped by a deep will to experiment which leads the author to embrace theatrical forms and techniques very different from each other. This is why almost all of his plays appear full of contradictory elements and tendencies, traumatic breaks and bold innovations. After his "explosion" at the Abbey Theatre of Dublin with the vigorous realism of his trilogy, O'Casey abandons this reassuring haven – it was probably too reassuring for his restlessness – and begins his collection of "experimental" plays, starting with The Silver Tassie (1929) and going on with Within the Gates (1910), The Star Turns Red, 1940, Red Roses For Me (1912)...
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